@article{oai:nagoya.repo.nii.ac.jp:00029249,
 author = {康, 東元 and Kang, Dongyuan},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {The studies and the translations of modern Japanese literature that began at the end of Qing Dynasty (1880s) have been prevailing across China ever since the adoption of the reform and opening-up policy (1979). Various Chinese versions of works by Akagawa Jiro, Nishimura Jukou, Matsumoto Seichou, Mizugami Tsutomu, Edogawa Ranpo, Yokomizo Seishi and other writers have been published. After 1979, translating and introducing Japanese detective fiction became more and more common (Ningen no shoumei by Morimura Seichi, etc.). This trend became formalized and achieved a great scale in the middle of 1980s when Japanese detective fiction was booming in China. In the 1980s, works such as Kimi yo fundo no kawa o watare by Nishimura Jukou and Ningen no shoumei by Morimura Seichi pioneered the translation wave of Japanese detective fiction in China. From the point of view of readers (audience), the continuous mixing of movie media and original works accounts for this trend. Just as Shigemasa Takafumi (a film and TV arts professor at Osaka University of Arts) points out in Eiga no mikata, bungaku no yomikata (2008) "as cinema makes use of video media, it also occupies the original written work's market at the same time". Another reason why Chinese readers were attracted by Japanese mystery novels is the connection between the basic composition models of detective fiction and Scar literature, namely, the models of "victim" and "victimizer". Ever since the PRC was founded, anti-capitalist measures have been unswervingly enforced in the world of publication, especially during the Cultural Revolution. Due to the reform and opening-up policy, a liberalized atmosphere was formed in the circles of literature, and the art and many works of foreign literature that had often been criticized were then freely translated and introduced into Chinese culture. Since the 1980s, Japanese detective fiction as well as mystery fiction, has been officially accepted and translated into Chinese. It is generally thought that the support from the masses has a direct link with the cultural and spiritual transformation owing to the great change in China i.e., the reform and opening-up policy. This has also been considered as one factor deeply influencing the acceptance of Japanese detective fiction in present day China. In this essay, the author will study the Japanese detective fiction translated into Chinese after the adoption of the reform and opening-up policy and examine its current development and influence on the modern Chinese literature (Scar literature) and Chinese society as well.},
 pages = {48--59},
 title = {中国における日本の「推理小説｣の受容の様相 : ｢改革開放｣以後の翻訳傾向を中心に},
 volume = {3},
 year = {2012}
}